Recent Reviews

Updated January 2018

Billy Budd (May 2018)


But the main interest for all was Phillip Addis' Billy Budd: sensual and youthful, despite his baritonal timbre he strove - as required - to convey an anxiety on stage, which the artist himself does not posess. Agile as needed to haul himself up the rigging while continuing to sing from there, bravely scaling the extremely tall ladder which leads to Billy's death by hanging, Addis takes on the entire role with an unrelentingness and deciciveness, born of the awareness to remain true to his ideals of purity and loyalty, no matter the adversity. In his magnificent scene, awaiting death, as the character reaches the apex of his internal growth, accepting his sacrifice and refusing to allow himsel to be saved by a looming act of mutiny, the performer, at the same time, succedes in revealing accents of purity and profundity which leave one amazed. The burnished, yet vibrant and agile voice hits all the notes of human emotion, but without falling into silly, banal and liveliness as an end unto itself, but rather through a path of awareness and responsibility.

Ma il centro di interesse resta per tutti il Billy Budd di Phillip Addis: sensuale e giovanile, nonostante il timbro baritonale voglia – per consuetudine – comunicare una anzianità scenica che non appartiene all’interprete. Agile quanto necessario per arrampicarsi su una delle corde e seguitare a cantare da quella posizione, coraggioso nell’affrontare l’altissima scala che lo condurrà alla morte per impiccagione, Addis affronta tutto il ruolo con spigliatezza e decisione, maturando nella consapevolezza di mantenersi fedele ai suoi ideali di purezza e di lealtà, nonostante le avversità. Nella sua magnifica scena in attesa della morte, mentre il personaggio raggiunge l’apice di una maturazione interiore, accettando il sacrificio e rinunciando a salvarsi attraverso il turpe atto dell’ammutinamento, l’interprete, allo stesso tempo, riesce a trovare accenti di una purezza e di una profondità che lasciano sbalorditi. La voce brunita eppure vibrante e agile tocca tutte le corde dell’emotività umana, ma senza scadere nella vitalità sciocca, banale e fine a se stessa, bensì attraverso un percorso di consapevolezza e di responsabilità.
- Emiliano Metalli, connessiallopera.it  May 16, 2018

A singing company that could be defined as ideal included singers of absolutely perfect vocal and stage performance, among which it is nice to mention at least the Captain Vere of Toby Spence, and the fresh, fiery presence of Billy by Phillip Addis, called to replace the last moment the indisposed Jacques Imbrailo, without however dampening the fundamental contribution of the rest of the cast, aware of participating in an exhibition that will remain in the memory of the Roman public as one of the happiest performances of the Opera House.

Una compagnia di canto che potrebbe definirsi addirittura ideale annoverava cantanti di prestanza vocale e scenica assolutamente perfetta, tra i quali è bello citare almeno il Capitano Vere di Toby Spence, e la fresca, focosa presenza del Billy di Phillip Addis, chiamato a sostituire all’ultimo momento l’indisposto Jacques Imbrailo, senza tuttavia smorzare l’apporto fondamentale di tutto il resto del cast, consapevole di partecipare ad un allestimento che resterà nella memoria del pubblico romano come uno dei più felici spettacoli del Teatro dell’Opera.
- Anton Giulio Onofri, close-up.it  May 14, 2018

Phillip Addis arrived as a last-minute Billy, which turned out to be a magnificent surprise, an actor-singer  who succeeds in giving the role its difficult combination of innocence and unintentional provocation.

È arrivato un Billy «last minute», Phillip Addis, che risulta una magnifica sorpresa, attore-cantante che riesce a dare alla parte la sua difficile combinazione di innocenza e non voluta provocazione.
- Alberto Mattioli, La Stampa  May 11, 2018

Phillip Addis was a superb Billy Budd. There was a cockiness to him that was without guile, and his singing had that same quality. His voice was virile, free and open.
- Rick Perdian, seenandheard-international.com  May 18, 2018

Billy Budd, played by Phillip Addis, arrived on “The Indomitable,” full of smiles and enthusiasm, and bounced his way through the evening, naively engaging with who and whatever came his way. Setbacks never disturbed him for long, such as his fight with Squeak or wrongly thinking he was about to be promoted. There was always a large smile on his face. He was a paragon of naïve goodness, which of course, ultimately leads to his execution. Addis brought vocal energy and a vivacious swagger to the part, his subtle phrasing always closely aligned to the meaning of the text. When chained in the brig awaiting his execution he is understandably suffering and sang the hauntingly understated aria “Billy in the Darbies,” in which he contemplates his death. It was a sensitive rendition, full of pathos, yet without a trace of self-pity. He quickly recovers his positive attitude, but is now wiser, death has sharpened his faculties and realizes that he can redeem Vere, to whom he remains loyal, who is lost on the “infinite sea.” At his execution he climbs up the ladder, and disappears out of sight. Christ-like he ascends into heaven, his final words, “Starry Vere, God bless you!” After the brutality and destruction wrought through Vere’s moral failure, his redemption through Billy’s blessing, brings a ray of hope into what is otherwise a bleak work.
- Alan Neilson, operawire.com  May 16, 2018

Phillip Addis is Billy; he is a young agile baritone who has already interpreted the role many times (among others, in Genoa); with good looks and a great capacity for acting he is perfect for the part.

Philip Addis è Billy; è un giovane baritono di agilità che ha già interpretato più volte il ruolo (tra l’altro, a Genova); di bello aspetto, grandi capacità attoriali è perfetto nella parte.
- Giuseppe Pennisi, ilsussidiario.net  May 11, 2018

Successfully portraying the title character as the cynosure his literary creator intended him to be is not an easy assignment, but Canadian baritone Phillip Addis (replacing an indisposed Jacques Imbrailo on relatively short notice) delivered a compelling performance based on his savvy ability to appear beguiling while remaining guileless—a nearly impossible combination to achieve.

Addis’s Billy is lithe, virile and athletic; his allure stems more from an inner goodness than from an outward innocence. The role fits Addis’s slender baritone perfectly. Billy’s quieter moments found the singer at his best: the lilting lullaby of “Look! Through the port comes the moonshine astray!” movingly sung. Yet when required, he also rose to the challenge of Billy’s more dramatic apostrophes to the “Old Right’s o’ Man”.
- Kevin Fullerton, parterre.com  May21, 2018


Phillip Addis is a young, handsome Billy Budd (he climbs with a feline burst up and down the ropes), with a warm baritone voice and the intense gaze: the long scene of his final night gave one goosebumps, as did the caress on Captain Vere's head, just before the point where he descends into the ship's jails and is engulfied in a darkness broken only by a moonbeam. Budd's naivety and his indignation at the false accusation are credible and left the theater breathless for a long time.

Phillip Addis è un Billy Budd giovane, prestante (si arrampica con scatto felino su e giù dalle corde), dalla calda voce baritonale e dallo sguardo intenso: la lunga scena dell'ultima notte è da pelle d'oca, così come la carezza sul capo del capitano Vere, subito prima che il punto in cui è collocato scenda nelle carceri della nave, inghiottendolo nell'oscurità rotta solo da un raggio di luna. L'ingenuità di Budd e la sua indignazione di fronte alla falsa accusa sono credibilissime e lasciano a lungo il teatro con il fiato sospeso.
- Michelangelo Pecoraro, operaclick.com  May 15, 2018

Billy Budd is played by Phillip Addis, who has the perfect physique for the role and performs divinely (he often climbs, demonstrating excellent athletic skills). Beginning with the character's ballad ("Billy Budd! King of the birds!") And ending in the poignant 'scene of the prison', Addis is always in the character, exuding candid adolescence, candid abandonment to the world, despite all the evil which fills it: however, the unusual choice made by Britten to describe vocally a little more than adolescent with the baritone voice (albeit stretching into a quasi-baritenorial range, sometimes), gives the character almost a statuary security, which describes the boy's ethos all in one piece.

Billy Budd è interpretato da Phillip Addis, che ne ha il perfetto physique du rôle e recita divinamente (si arrampica spesso, a dimostrazioni di ottime doti atletiche). A cominciare dalla ballata d’ingresso del personaggio («Billy Budd! King of the birds!») e a terminare nella struggente ‘scena del carcere’, Addis è sempre nel personaggio, trasudando candida baldanza adolescenziale, candido abbandono al mondo, pur con tutto il male di cui è pieno: peraltro, la scelta insolita operata da Britten di descrivere vocalmente un poco più che adolescente con la corda baritonale (seppur proiettata in zone quasi baritenorili, a tratti), conferisce al personaggio quasi una statuaria sicurezza, che descrive proprio l’ethos del ragazzo tutto d’un pezzo.
- Stefano Ceccarelli, apemusicale.it  May 15, 2018

Don Giovanni (April 2018)

Baritone Phillip Addis sang the title role, and he moved between depicting a man capable of murder and rape, and slick seducer well enough. His interactions with his servant, Leporello (Erik Anstine), were a good mix of indulgence and physical threat. And in his final confrontation with the ghost of the Commendatore (Kirk Eichelberger), Addis generated a fearless defiance to create a powerful scene of male indignation and danger before he was dispatched to the furnace.
- Bill Rankin, operacanada.ca  April 18, 2018

As the titular Giovanni, baritone Phillip Addis brings an attractive swagger and appeal to the role. Addis excelled especially at the challenging recitative, particularly in the comedic moments with his trusty servant. At times, the orchestra drowned Addis' velvety baritone somewhat, but his performance of the boisterous aria "Fin ch'han dal vino", in which he announces a lavish, hedonistic party, was a tour de force.
- Oliver Munar, schmopera.com  April 19, 2018


Eugene Onegin (February 2018)

As the titular Onegin, baritone Phillip Addis offers a convincing, polished performance. Addis carries himself with poise and swagger that underscore his character's coldness. But in the third act, Addis unleashes a full range of his acting and vocal ability when his character finally recognizes his love for Tatyana. His vibrant voice is pierced with desperation as he pleads with Tatyana, who refuses to act on her feelings for him.
- Oliver Munar, schmopera.com  February 5, 2018

Carmina Burana (May 2017)

I hope the TSO asks Phillip Addis back after such an intelligently sung debut.  I watched him marshal his resources through the “Estuans interia”, a series of (I think) high Gs, and a final powerful A. He’s a theatrical singer who happens to possess a lovely sound and flawless intonation.
- barczablog.com June 25, 2017

Phillip Addis navigates the requirements of the piece with ease, shifting between his registers with extreme flexibility. Orff is almost cruel to his baritone in the "Dies, nox et omnia" aria - demanding falsetto in one bar and then forcing the baritone to dip down to the base of his range in the next. Though cruel, Addis makes it sound lovely.
- Broadway World, Jun. 22, 2017 

Baritone Phillip Addis ... was brilliant displaying an abundance of power as well as comedic flair.
- Toronto Concert Reviews, June 22nd 2017 



Die Zauberflöte (January 2017)

Addis gave a winning performance as the Bird-catcher, singing with robust tone, and received one of the biggest ovations in the final curtain.
- Musical Toronto, January 30, 2017

Silent Night (November 2016)

Addis brings a heart-wrenching sense of yearning to this aria as the character wonders about his wife and unborn child. He begins to question the war and sings of much needed sleep; his troops share the sentiment.
- Encore Michigan, November 14, 2016

Roméo et Juliette (September 2016)

Other notable turns include Phillip Addis as the rowdy and vivacious Mercutio—Addis displays a nimble and expressive baritone in “Mab, la reine des mensonges” and an athletic command of the stage, making his fatal dual one of the evening’s real highlights (choreographed by Doug Scholz-Carlson).
 - Twin Cities Arts Reader, September 26, 2016

La Bohème (May 2016)

Vocally, Canadian baritone Phillip Addis was the most impressive among the male roles for the power of his voice, the beauty of his timbre and his convincing stage performance.
Sur le plan vocal, c’est le baryton canadien Philip Addis qui impressionne le plus dans les rôles masculins par sa puissance vocale, la beauté de son timbre et la crédibilité de son jeu scénique.
- rreverb.com, May 20, 2016

Phillip Addis is an ideal Marcello: superb timbre, excellent projection, his tone and character always right for the situation.
Phillip Addis est un Marcello idéal : superbe timbre, excellente projection, sens de la nuance et jeu toujours en situation.
- l’Avant-Scène Opéra, May 14, 2016

Pelléas et Melisande (January 2016)

Addis sings so melodiously and sensitively as Pelléas that everyone in the hall senses what Mélisande sees in him.
Und Phillip Addis singt den Pelléas so wohlklingend und sensibel, dass wohl jeder im Saal ahnt, was Mélisande an ihm findet.
- Hamburger Abendblatt 8. Januar 2016 von Verena Fischer-Zernin

Pyramus and Thisbe (October 2015)

Addis charged his baritone voice with real passion and presented the almost choreographed movements of his character with great force.
- Globe and Mail, October 21, 2015

Addis has a tensile strength, both physical and vocal, that he uses to maximum effect throughout.
- Toronto Star, October 21, 2015

L'Amour de Loin (July 2015)

The role of Jaufré is likely a little too low for comfort given Phillip Addis’s tessitura.  However, he is such a great singer that this is not obvious.
Le rôle de Jaufré est probablement un rien trop bas par rapport à la tessiture de confort de Phillip Addis. Mais il est un si grand chanteur que cela passe inaperçu.
- Le Devoir, 31 juillet 2015

Baritone Phillip Addis incarnates the troubadour Jaufré Rudel. The quality of his acting is superb and his voice reaches every spectator without the slightest apparent effort.
Le baryton Phillip Addis incarne avec vérité le troubadour Jaufré Rudel. La qualité de son jeu est superbe et sa voix se rend jusqu'aux spectateurs sans le moindre effort apparent.
- Le Soleil, 31 juillet 2015

Pelléas et Melisande (January 2015)

Likewise, Phillip Addis (Pelléas) mastered the not-easily-articulated, free-speeking metre of the prose text and focused on the sound. The young Canadian Phillip Addis enraptured his beloved with the bright-coloured tenorial baritone of his erotically charged voice, singing: "Oh, comme tu dis cela ! Vois ta ta voix!
Elle est plus fraîche et plus Franche que l'eau" ("Ah, the way you say that ! Your voice , your voice! It is cooler and clearer than water.")
Ebenso wie Phillip Addis (Pelléas) meisterte sie die nicht einfach zu artikulierende, frei gesprochene Metrik des Prosatextes und fokussierte sich auf den Klang. Der junge Kanadier Phillip Addis schwärmte mit hellem, tenoral gefärbten Bariton von der erotisch aufgeladenen Gesangsstimme seiner Geliebten: Oh, comme tu dis cela! Ta vois, ta voix! Elle est plus fraîche et plus franche que l’eau – Ah, wie du das sagst! Deine Stimme, deine Stimme! Sie ist kühler und klarer als Wasser.
- Operapoint.com 27. Januar 2015 von Zenner

It is touching to see the title character, as if in the bondage of white hair, as he agelessly and naively plays games with Mélisande and lays the stones into the shallow water, so that she might balance upon them.
Es ist berührend, den Titelhelden gleichsam in der Fessel des weißen Haares zu sehen, während er mit Mélisande alterslos naive Spiele spielt und ihr die Steinchen ins flache Wasser legt, damit sie darauf balancieren kann.
- von 29.01.15 tagesspiegel.de

Phillip Addis characterized Pelléas with a youthfully high yet loomingly somber baritone.
Mit jugendlich hohem beziehungsweise dräuend düsterem Bariton charakterisieren Philipp Addis als Pelléas
- Von Irene Constantin 30.01.2015 neues-deutschland.de

Barber of Seville (Edmonton, 2014)

The star of the show is without a doubt Phillip Addis, whose theatrical expressions, exaggerated movements, and rich baritone brought the character of Figaro to life. In spite of the character’s inflated sense of self, Addis’ Figaro is instantly loveable and a pleasure to watch.
- The Wanderer Online, October 30, 2014

As Figaro, Phillip Addis injected some focus with a physically commanding, vocally authoritative energy that was the highlight of the evening. His bright baritone projected Figaro's self-assured persona engagingly.
- Bill Rankin, Opera Canada , Vol. 55, No. 4 , Winter 2014

Addis was a fireball with great comedic skills to compliment his singing skills. When he's onstage your eyes are always drawn to him.
- finsterfinds.blogspot.com, October 28, 2014

Britten's War Requiem (2013 & 2015)

Baritone Phillip Addis displayed a voice rich in tone and textual awareness.
- LA Opus, 26 November 2013

Baritone Phillip Addis communicated with intelligence and superb diction. He riveted whenever he took the stage, but particularly in the work’s final moments, as he described 'the pity of war."
- Cincinnati Enquirer, 12 May 2013

Addis sang with a beautifully inflected voice that was as rich and dark as chocolate.
- Nashville Scene, 1 June 2015